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Old 15th September 2002
Lives for gear
C.Lambrechts's Avatar
🎧 15 years

How and when do you use it :

To be honest, I am not a very regular "sidechainer". As a matter of fact .... the only time I will use it is to try / experiment / create freaky arpegiator effects with a gate plugin on a distortion guitar triggered by the hihat for example. :eek:
Old 15th September 2002
Jules's Avatar
Nevermind Andy Wallace - here's the Sex Pistols sound!

If you strap a stereo comp across a dist gtrs and bass group (best is a mult or parallel so the original gtrs group remains untouched) then send kick drum signal to the side chain, you get a Sex Pistols style dip in the gtrs every time the kick hits..adjust the comp for 9-1 (or higher) fast attack, fastest release and a 2-6 DB dip in volume on each kick hit.

This is good for grunge / smashing pumpkins / punky / alt rock

Basically is simulates heavy buss compression, but in a controlled manor. Sometime you need to send the snare & toms into the sidechain as well.

I am chums with and have done a lot of work with the original bassist of the pistols, Glen Matlock. He liked it...

God save the Queen!
Old 15th September 2002
Gear Addict
cymatics's Avatar
🎧 15 years
Sometimes I like a drum buss comp with a some low freq cut in the side chain. Usually a LF shelf with a few dB of cut somewhere between 60 and 120Hz. On occasion I'll use the high pass output of a crossover at about 100Hz in a comp side chain for some unusual sounding freq sensitive compression. Gets the drums sounding nice and squashed but leaves the thump of the kick intact.

I gotta try that guitar/bass comp with a kick/snare side chain thing! Good one Jules.

- jon
Old 15th September 2002
Gear Guru
thethrillfactor's Avatar
4 Reviews written
🎧 15 years
I use it a lot when mixing vocals. Most of the time I just create them on seperate faders, depending on which part of the vocal I want target(normally the midrange). I also own a comp that has a side chain built it in and it works great for this purpose. Its actually one of my go to comps when mixing vocals. If it doesn't work here I got to my next comp choice.
Old 16th September 2002
Lives for gear
C.Lambrechts's Avatar
🎧 15 years
Cool technique Jules .... another entry in my "Jules' faboulous recording tips and techniques" diary I keep ....
Old 4th October 2002
Here for the gear
🎧 15 years
I'm new to this forum, so this is my first post.

This may have already been mentioned, but I like micing kicks with two mics. One inside off-center from the beater, usually pretty close and one outside the shell pointing at the lower 1/4 corner of the drum, distance varies.

Play with positioning till phase is right, then strap a gate over the outside mic and sidechain it with the signal from the inside mic. Sometimes it helps if you run an eq and a compressor in-line to get a good trigger signal.

You can adjust the gate to either bloom or clamp down hard, lots of fun!
Old 5th October 2002
mwagener's Avatar
🎧 15 years
I used to use something similar to Jules' trick on the bass, triggered by the kick and sometimes used the "duck" mode on the compressor. Also on some of the more "pop" projects I sent everything but the vocals through an audio subgoup and had the compressor sidechained by the vocals. Automation is taking care of that now.
Old 5th October 2002
Super Moderator
Remoteness's Avatar
🎧 15 years
Originally posted by mwagener
I used to use something similar to Jules' trick on the bass, triggered by the kick and sometimes used the "duck" mode on the compressor.
It's funny you said this, because I was reading down this thread and said, great I can mention the bass keyed by kick trick, but you beat me to it. Very funny.

I used this trick when the bassist wasn't as tight as the drummer. Keying the bass with the kick gave the bass player a better feel and nice pulse to it. It sounded like the bassist was pumping on beat.
Old 5th October 2002
Gear Maniac
Mats Olsson's Avatar
🎧 15 years
On horn/brass sections, you can make them sound much tighter if you use triggered gates.
This requires 1 microphone/instrument, assign 1 gate to each of them, route signal from the lead horn to the key input off each gate.

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